Something special just happened outside Düsseldorf: Germany’s largest electronic music festival, . The festival just had its third annual anniversary, and it was, in a word, insane.
Founded in 2014, Parookaville has had great success in delivering the world’s biggest DJs straight to Germany’s largest dance music scene. This year, the ground served home to more than 80,000 attendees, complete with 10 stages and more than 200 artists on the lineup.
As one Europe’s largest electronic music festivals, it was interesting to compare the experience here to that American festivals. In comparing a festival like Parookaville to something like or even , some obvious differences were apparent.
One big difference seems to be drug use. I don’t know if it’s Germany’s love beer as an alternative, but I was shocked at how few drugs were being consumed at Parookaville. Speaking solely for American festivals, almost every attendee can share some kind story by weekend’s end where they witnessed someone at the festival deep in a “K-Hole” or heard a friend buying “fake molly.” In Germany, however, I did not witness a single person noticeably intoxicated on drugs. After making a note this at the end the day one, I chalked it up to “Germans love beer” and maybe I just didn’t see enough the festival yet. Stiff security, maybe? Wrong. Parookaville had some the most lax — yet most pressional — workers I’ve ever seen at a festival. Aside from a group friends who posed as “stage crew,” only to be almost immediately busted during the artist’s set, the weekend went without any major hiccups. Note to “stage crew”: if you’re going to make it in, don’t give yourself up by jumping on stage and trying to dance with . Parookaville provided a fun and safe atmosphere for all, and it was so memorable. Music lovers came out to truly listen and enjoy.
Parookaville provided a great environment for a festival, combining both immaculate and historic grounds, with a stacked and diverse lineup. While the lineup was techno-heavy, it catered to many other genres electronic music as well, including what possibly might be one the most epic bass-heavy stage days we’ve seen yet, thanks to BOOTSHAUS. Check out the lineup (at right) just for Saturday alone.
If you’re looking for that festival “second-wind” in an industry that is always searching for new and fresh material, Parookaville is the answer. In their third installment, they truly have built something special in the hills Germany.
One major thing to note about Parookaville was the stellar production quality their live stream and set replays. Quite honestly, this may be the best-looking live stream I’ve ever seen. From the camera work to the quality the stream, I haven’t seen many that can compare with the job their production team did this year. Bravo! MagentaMusik 360 provided full coverage for Parookaville 2017 and a select number set replays can be found .
To get your tickets for Parookaville 2018, click .
Check out set highlights on ‘s Instagram, and view .
Porter Robinson's seminal 'Worlds' is now three years old – Dancing Astronaut
Three years ago this month, unleashed an iconic collection songs that for many defined an era electronic music.
Robinson released on Aug. 12, 2014. The 12-track compilation, highlighted by standout tracks like “” and “,” topped the charts that year and was enthusiastically received by Robinson’s fan base and the dance music scene alike.
Worlds, Robinson’s debut studio-length album, marked a shift — somewhat unexpectedly — in his music from heavy electro to a more alternative form electronic music. Tracks like “” brilliantly showed the influence Japanese culture had on Robinson’s work, while “” with Urban Cone delivered more a synthpop feel to the album. Fans previous emotion-packed hits like “” weren’t totally lost in this new feel from Robinson, however. Worlds elegantly emulated the beauty Robinson’s music and perfectly showcased his incomparable emotive style.
What’s perhaps more interesting is the fact that Worlds represented a massive left turn for the producer at the time. Up until its release, he was something an electro house wunderkind. To so aggressively abandon that sound for something else, something pioneering would in and itself be an accomplishment artistic growth. To pull it f so astoundingly, however, raises Worlds and Robinson himself into another stratosphere was a musician.
Since Worlds, Robinson has kept busy. The release “” with French producer , its , and the accompanying tour had Robinson flying all over the globe performing a glorious blend his and Madeon’s music, much to the delight fans who have been vying for the two to work together for years.
From “” in 2010 to the wild Shelter tour, Robinson has proven time and time again that his music mastery knows no limits. At only 25 years old, the producer is sure to thrill us for many years to come.
Revisit the quintessential album below.
Lean Back! Fighting The Biochemical Attack On The ‘Hood
“How we stop the Black Panthers/Ronald Reagan cooked up an answer”–Kanye West on “Crack Music”
(AllHipHop Opinion) It was the eve the revolution that their grandparents had always dreamed and the Black Lives Liberation Army was gonna set it f bright and early at dawn against the evil forces that were destroying the hood. But during the nightly strategy session, somebody passed out a purple drink in double styroam cups and suggested they do a battle toast. So when they finally woke up at noon the next day, the revolution was over…they lost.
This current generation millennials is, arguably, the most “woke” group African Americans since the conscious Hip Hop Era the late 80’s and some would say, with their skills at social media, since the Black Power Era. Since the murder Trayvon Martin in 2012, there has been an awakening the masses and the high prile police involved shootings Michael Brown, Sandra Bland and many, many others have fast tracked us on the road to the revolution that Malcolm X talked about 50 years ago.
But as in science, for every action there is an opposite reaction. So, for everything that wakes us up, there is always something to put us back to sleep.
Drug use has always been glorified in Hip-Hop to a certain degree. After all, when the early rappers said “ski” they weren’t talkin’ about a vacation in the Aspens .
But this new generation is on a whole ‘notha level.
Thanks to mainstream Hip Hop, getting high f prescription medicines seems to be just what the doctor ordered.
The past decade has seen a rapid increase rappers being self medicated prescription drugs. You can hardly listen to the radio without hearing artists like Future rapping about pills like they just raided Grandma’s medicine cabinet.
Much this madness originally came out the Dirty South as rappers from Texas to Tennessee bragged about sipping on that Sizzurp aka Lean and some have died from taking too many sips that Purple Drank. For the less hip, Lean is a deadly combination st drink, Kool Aid, codeine, cough medicine, Jolly Ranchers and anything else somebody feels like throwing in a cup.
Now enter something called “Legal Lean.”
Either some mad scientist or some hipster with a determined idea and too much time on his hands has come up with a way to push that potion in the hood, legally, by substituting codeine with natural stuff. The ingredients are different but the effects are supposed to be the same.
Now, while Legal Lean may be available near some college campuses so some wealthy white coeds can vicariously live out their Lil Wayne fantasies, most the stores that sell this are in the hood.
Of course, the makers Legal Lean think they are providing a service by giving cough syrup junkies an alternative. To hear them tell it, Legal Lean is to Purple Drank what Methadone is to Heroin.
After all it is 100% natural. But so are psychedelic mushrooms and if you really want to get funky with it, cocaine contains a 100% natural ingredient, as well.
So, once again the Black community is under a biochemical attack at a time when we need to be in our collective best state mind to survive the Trump Era.
Fortunately, some groups around the country are not giving up the hood without a fight.
In Wisconsin, the Original Black Panthers Milwaukee have staged successful campaigns against stores selling Legal Lean.
Also, in Durham NC, activists have started Operation #LeanBack to have the product permanently shut down, nationwide.
Every community activist should be fighting to get Lean up outta here, whether legal or illegal.
As always, you are gonna have some to defend destruction to the grave. But those us who aren’t “gone f that Lean” have a responsibility to raise our voices in protest.
As Kendrick Lamar said on Be Humble
“I let my soul speak, you let the meds talk…”
Min. Paul Scott is founder the Black Messiah Movement. He can be reached at email@example.com Follow on Twitter @truthminista
REZZ flouts convention and asserts her musical dominance in 'Mass Manipulation' [Interview + Album Review] – Dancing Astronaut
It’s a question that musicians, critics, and fans alike have pored over throughout the artist’s brief, but momentous musical tenure. Once dubbed by the masses as the “female Gesaffelstein,” Isabelle Rezazadeh has since transcended this reductive – albeit, highly laudable – characterization, to create a style that is entirely her own.
“People used to compare me to Gesaffelstein, but we don’t sound alike at all in my opinion,” told us in a conversation earlier this year. “There are some similarities… we both make dark music.” The 22-year-old producer further noted that she’s outgrown the phase her career in which it is necessary, or even accurate to liken her music to that other artists: “I find that as late, I’m the one being compared to. I find that lately people are saying, ‘You sound like Rezz.’”
Today, August 4, marks the biggest milestone Isabelle Rezazadeh’s career to date, as she releases her debut album, Mass Manipulation. And, while she’s far past the point in her career when she was consistently – and inaccurately – referred to as “dark queen techno,” the eight-track mau5trap LP puts forth her innate, authentic sound with greater strength and clarity than ever before in her career.
Like any true artist, REZZ arrives at her signature sound through adhering to an intangible, but indomitable vision – one which comes from a psychedelic headspace that she describes as “almost inhuman.”
“It’s this part my brain that I just can see and hear a certain vibe music and sounds… and I’m really inspired by that,” she asserts. “I want to get as much music out that part my brain as I can.”
To attempt a reduction REZZ’s music into typical genre stereotypes is to wallow in futility. In the producer’s own words, her music is “all very slow paced and chill and vibey, and it] sucks you right in. It’s almost like a hypnotic] void… you’re gone, but you’re all there, all at the same time.”
“That’s how I feel, that’s how I want other people to feel, and that’s what I’m inspired by,” she continues. “That’s the main thing i’m super inspired by, just getting my vision out there in the most accurate way possible.”
In terms her modus operandi, it still makes sense to liken REZZ to Gesaffelstein. The vision which drives her necessitates that she integrate her authentic musical inspirations with her live show and overall aesthetic – arguably, her own sort Gesamtkunstwerk. And, like Gesaffelstein, a major way through which REZZ achieves this mission is through an emphasis on raw minimalism.
“I love simplicity in music. I think it can be very heavy hitting and to the point… obviously complex tunes can be cool too, but I like simplicity in everything,” says Rezazadeh. “Simplicity in mindset, simplicity in clothing, simplicity in the way you present yourself. It’s totally a lifestyle.”
“ I feel like I’m making music that is telling people how to feel.”
Throughout Mass Manipulation, REZZ achieves her vision, in part, by channeling her passion for psychology. The artist acknowledges that her interest in cognitive science has made her “aware her] feelings, why she reacts] to things a certain way, and why other people react to things a certain way.” A knowledge which, when harnessed properly, has allowed her “to evolve as a person and a producer, stay focused and motivated, and not lose track her] vision.”
Thematically, Rezazadeh’s album pinpoints the nexus between expressing her own feelings authentically and determining her audience’s reaction to their musical manifestation on a visceral level. “ I feel like I’m making music that is telling people how to feel,” she says. “I just want me, my music and everything about my brand to be based around hypnotizing the masses through my music,” she says. And, from the album’s hauntingly mesmerizing opener, “Relax,” the artist successfully endeavors to do just that.
When prompted to tell the story Mass Manipulation in her own words, REZZ states, “It’s more a reaction or commentary to modern consumption habits. We trade more in ideas and media than tangible things, so this is my intangible idea how existence looks – or could look.”
Those who follow REZZ religiously are already well-versed in the canon her debut album. In a fervently-followed album rollout, the artist provided her first impressions on “how existence looks” by released the first half her album.
Over the course the past month, Rezazadeh’s newly-released album singles – “Relax,” “Diluted Brains,” “Premonition,” and “Drugs!” – have become as important a facet her musical catalogue as any other songs released in the past three years. Meanwhile, hitherto unreleased songs such as “Green Gusher” and “Synesthesia” have been staples in her sets for quite some time.
As a whole, the album traverses REZZ’s aforementioned musical vision, from the sinister psychedelia “Drugs!” and “Green Gusher,” to the quaking minimalism “Ascension” and “Diluted Brains.”
Additionally, the album plays host to what very well may be the most virulent production Rezazadeh’s career thus far, “Livid.” In this maniacal, menacing track, REZZ has arguably achieved her most memorable output since 2016’s “Edge,” and has, once again, demonstrated the true breadth her abilities.
With the thoughtful construction Mass Manipulation, and with the visceral draw songs like “Livid,” Isabelle Rezazadeh has proven that she’s far past the leap from “rising star” to dance music icon. Yet, despite her swift evolution to this artistic phase, the artist’s recruitments on the album indicate that she is still in touch with her inner bedroom producer.
More vocally than most her peers within the industry, REZZ has used her highly-publicized album as a platform to highlight dark horse producers. She invites up-and-comers Knodis, 13, and Kotek on “,” “,” and “Ascension,” respectively. By prominently including the aforementioned as collaborators, rather than featured (or uncredited) artists, Rezazadeh aims to fer these artists a similar opportunity in their nascent careers to that which deadmau5 provided her in the not-too-distant past.
In stark opposition to the “ensemble cast” collaborations which permeate much today’s dance music climate, REZZ states, “I don’t care how big or small artists are, it’s all about the music to me.”
“People would be surprised how many talented unknown names there are out there,” she coyly adds, though she is quick to dispel any rumors creating her own imprint in the near future. “I have thought about it but I’d rather put all my focus on my own music as that’s what keeps me sane & what I’m most passionate about.”
After full consideration Mass Manipulation and Isabelle’s inspirations, we get a better sense the previously-posed question, “How does one define REZZ?”
The Canadian producer can’t be defined according to her connection to a specific style or sect ancestral artists. Nor should she ever again be lauded for being a tremendous talent “at her young age”; indeed, Rezazadeh is far past the stage her career wherein focusing on her precocity doesn’t inadvertently detract from her deeply-conceived trajectory.
REZZ is at the forefront a new movement. Hers is a mission which bridges the gap between commercial and underground dance music, and one which eschews formulaic success strategies for unique concepts and authentic sounds.
There’s a reason that hundreds thousands fans fervently flock to their fondly-dubbed “Space Mom.” Infiltrating an industry in which commodification strengthens its grip every day, REZZ is one the rare producers who is strictly putting forth art.
And, in doing so, she’s creating an alternative blueprint for the new age dance music
This story features additional reporting by .
All photos are by .
Remember Russell Simmons' "Def Comedy Jam" On HBO? A Reboot Is On The Way
HBO’s Def Comedy Jam is back, but this time it’s under a new name — All Def Comedy. Over two decades after the show’s debut, the reboot the celebrated stand-up comedy series is expected to return in December. Hip Hop mogul Russell Simmons is once again at the helm.
During its initial run (1992 to 1995), comedians like Bernie Mac, Cedric The Entertainer and Chris Rock routinely graced the Def Comedy Jam stage. The show did return briefly in 2006 and joined HBO’s fall lineup that year, but it didn’t last.
Hosted by Tony Rock — comedian and brother Chris Rock — the reboot plans to feature voices that will resonate with the newer generation.
“I have witnessed firsthand how the most cutting-edge, seemingly alternative comics become the driving forces in mainstream comedy,” Simmons said in a press release. “I’m thankful to HBO for allowing me to give these new voices access to mainstream audiences everywhere.”
Simmons took to Instagram on July 28 to express his excitement for the show’s return, writing, “Excited to give exposure remember Martin Lawrence chris Tucker Bernie Mac Dave chapel steve Harvey kevin hart KatWilliams Cedric Ent entertainer and 50’other stars were discovered we are in the same place with lots underexposed talented people need a platform.”
Simmons is also working on the return Def Poetry Jam as well.
Amber Rose Claims Kanye West Bullied Her For 6 Years!
(AllHipHop Rumors) Amber Rose is one interesting lady!
Sometimes it seems like Amber Rose is a delusional individual that lives in an alternative reality. She has to be in her own world sometimes.
Rose stopped by to chat with Joe Budden & DJ Akademiks on Complex’s Everyday Struggle.
To no one’s surprise, Amber Rose made some more interesting and controversial statements! She explained that she doesn’t believe that there is any such thing as hoeish or sluttish behavior, and she said although Kanye gave her fame, fame doesn’t get you any money.
I believe Amber should say fame doesn’t guarantee you money, but we all know fame is the reason why a lot people are getting checks, and it opens up a lot doors and puts people in demand.
Anyway, as far as her previous relationship with Kanye, Rose stated that their relationship and break up still bothers her to this day.
Rose stated that she never went in on Kanye until Kanye took shots at her, her ex-husband Wiz Khalifa, and their son.
Rose also said that while it’s dope to be a part Hip Hop history as her relationship with West inspired his ‘My Beautiful Dark Twisted Fantasy’, she actually remembers those times as being terrible because she was famous but broke, and she couldn’t say anything because West had such a big voice.
If Kanye was really “bullying” Amber, do you think Amber was doing some crazy stuff behind the scenes?
Join the rumor community! Do you have a rumor tip that you would like to share? If you hear or see something, send us a tip to AHHrumors@gmail.com.
Lolla's Perry Farrell working on house music-focused project
Prior to ‘s milestone anniversary 25 years just last year, the founder the iconic Chicago festival Perry Farrell spoke with the about the legacy the event and his plans for after.
Formerly a member the rock band Jane’s Addiction and starting Lollapalooza on a whim, the world renowned festival has now expanded to six countries, reaching far beyond its original realms rock and alternative music. Lengthening the festival to four days for the very first time this year, Lollapalooza is set to showcase a wide variety names in the EDM realm such as , , , and to name a few.
Revealing in the interview an understanding the necessary changes that must come in the festival economy over a year ago, Farrell shared then he was working on a new “project” separate from Lollapalooza that will be a “completely new experience.” During the interview, Farrell suggested it would launch 6 months from now, although no further word has been made as yet.
Expressing disinterest in EDM in general Farrell expressed an interest in keeping EDM at the door at the event, stating,
To this day, Perry’s name is associated with the Lollapalooza stage that hosts the bevy EDM talents during the festival, although he’s expressed he’s less than thrilled about what’s coming out EDM.
Farrell, course, understands EDM’s role in expanding Lollapalooza’s reach over the years. A key to its growth has been its ability to book the types artists most popular with its young fan base, with hip-hop and EDM leading the way. With nearly 40 percent its ticket buyers reportedly under the age 24, and 34 percent between the ages 25 and 34, according to figures supplied by C3 in 2016, it’s no wonder Farrell is no longer identifying with their desires.
It should be interesting to see what comes out the mastermind’s house music-centric project, after all, Lollapalooza was supposed to just be a one-time ordeal.
Ultra Europe celebrated its fifth year production this past weekend in Split, Croatia.
Though the lineup was enticing, featuring industry heavyweights such as , , and , it seems that the DJs booked for Ultra Europe’s fifth year wouldn’t be the only ones “performing” at the festival.
One couple proved to be a little more adventurous, or alternatively, a little more oblivious to their surroundings than most, venturing away from the set to satisfy their sexual urges. Yet, with thousands people gathered in Split, privacy was not to be found, and the couple was subsequently caught doing the deed. While the probable embarrassment being discovered is only temporary, YouTube videos have a bit a longer life, making for a comical kind cinematic souvenir for the filmed couple.
Given the status artists like , , and , to name but a few, it’s no surprise that hip hop is among the biggest influencers the zeitgeist. That hip hop is now the undisputed most popular genre in the United States is perhaps more a surprise, however, but nevertheless one backed by statistics now released by Neilson Music.
Neilson Music, the authority in music tracking from top songs to top genres, has released its industry-wide findings and statistics indicate that 25.1% the U.S. listens to hip hop, placing hip hop ahead rock — previously the long-reigning king music genres in the nation. A comparative — and close — 23% the U.S. listens to rock. While rock has been dethroned in terms listening, the venerable genre still triumphs in the album sales category, accounting for 40%+ album sales localized in the U.S.
Neilson’s report additionally touched on the increased demand for and subsequent use streaming services like and , with streaming increasing 62.4% from 2016 to 2017. The percentage conveys that downloading has been supplanted by streaming, an easier alternative given the array music streaming platforms in existence. As supported by the prundity music streaming services, the count audio streams has surpassed 184 billion streams thus far this year, a number that will only continue to grow as the year progresses.